Robin Trower Interview: The guitar supremacy of Trower continues to spellbound

By Ray Shasho

Robin Trower has everlastingly mesmerized rock enthusiasts across the planet with his intricate heavy rock and blues harmonics. The master of the Stratocaster recently released roots and branches an inventive mix of cover tunes spotlighting Robin’s favorite R&B, blues and early rock ‘n’ roll classics compiled with several explosive new tracks of Trower material.

The most memorable cover tracks of roots and branches is Trower’s impressive blues rendition of the Willie Dixon penned, “Little Red Rooster,” Arthur “Big Boy” Crudup’s, “That’s Alright (Mama),” and the Booker T. Jones/ William Bell composition “Born Under a Bad Sign.” Robin Trower instills the magic of his own genius into these timeless classics. Trower’s heavier rock and blues adaptation of “That’s Alright Mama” should inspire generations for years to come.


My favorite tunes on roots and branches are the back to basics Trower arrangements of “See My Life” and “Sheltered Moon.” “See My Life” runs deep; it’s an incredible hard rockin’ blues composition that wails … Trower Power!
Robin Trower has also established himself as a first-rate rock vocalist. Although Trower contributed vocals while with Procol Harum, during his quintessential period with legendary music partner and friend James Dewar … Trower’s only voice contribution to the classic lineup was a short dialogue at the beginning of the track, “Twice Removed from Yesterday. …I gave roots and branches (5) five stars.

The BEGINNING: In 1960, the British guitarist formed The Paramounts, which would eventually evolve into the progressive rock band Procol Harum. The Paramounts lone hit was a cover version of The Coasters classic, “Poison Ivy” (1964 #35 U.K Singles Chart). The Paramounts split-up in 1966.
 
PROCOL HARUM was formed in 1967 by The Paramounts Gary Brooker, lyricist Keith Reid, Matthew Fisher, Ray Royer and Dave Knights. After the immediate success of their Top 40 hit single, “A Whiter Shade of Pale” (#5 U.S. Charts), the band added former Paramounts drummer B.J. Wilson and Robin Trower who replaced Ray Royer on guitar. The new lineup strengthened the band musically in preparation for touring. Ex Paramount Chris Copping joined the band by Procol Harum’s fourth release. The group scored Top 40 commercial success again in 1972 with the hit single, “Conquistador” (#16 on Billboard’s Hot 100). Progressive rock pioneers Procol Harum familiarized the world with their eclectic mix of symphonic rock, blues and R&B music.

Robin Trower recorded five studio albums as a member of the group … Procol Harum (1967), Shine on Brightly (1968), A Salty Dog (1969), Home (1970) and Broken Barricades (1971). Robin Trower later appeared on The Prodigal Stranger (1991) and The Long Goodbye (1995).

Trower left Procol Harum to form his own band. He teamed up briefly with singer/songwriter Frankie Miller, drummer Clive Bunker (Jethro Tull) and bassist/vocalist James Dewar (Stone The Crows) to form Jude. The group never recorded an album and soon disbanded.

THE POWER TRIO: In 1973, the inception of a new power trio would epitomize what would become Robin Trower. James Dewar on lead vocals and bass, Robin Trower on guitars and Reg Isidore on drums launched their brilliant debut album entitled, Twice Removed From Yesterday. Most of the songs on the album were written by Trower and Dewar. The album was the first of many recorded on the British Chrysalis Record label created by Chris Wright and Terry Ellis (Jethro Tull).
Robin Trower’s guitar styles were immediately correlated with Jim Hendrix. Critiques hurried to dub him “The White Hendrix.” I say to those critics …

You didn’t listen closely enough to the music. From the very beginning, Trower developed a very unique style of his own. Trower’s ingredients included a heavy dose of hypnotic rock with progressive, blues, acid rock and R&B overtones. The metaphysical lyrical content was delivered by the commanding voice of James Dewar. The mesmerizing musical qualities of Trower and Dewar instantly transported the listener’s mind musically into other worlds and dimensions. Of course there were guitar techniques that were similarities to Hendrix but Trower grasped the means and created a brave new style.

Twice Removed From Yesterday established many of Trower’s touring setlist classics … the hypnotic “Daydream,” the unyielding “I Can’t Wait Much Longer,” the blues standard, “Rock Me Baby,” and my personal favorite track “Ballerina” spotlighting the haunting vocalizations of James Dewar. The album became certified gold.

Robin Trower’s next album, Bridge of Sighs (#7 on the U.S. Charts) became a huge commercial success and one of the most critically acclaimed albums in rock history. It was now evident that the band had created a certain musical mystique and allure over its listeners. Every song on the album was brilliantly composed and performed. The title track, “Bridge of Sighs” would become Robin Trower’s anthem.

In 1975, Robin Trower released For Earth Below. A magnificently engineered album produced by Procol Harum bandmate Matthew Fisher. Fisher also produced the first two Trower albums but this would be his last. Drummer Reg Isidore was replaced with Bill Lordan (Sly & The Family Stone).
Long Misty Days was released in 1976. The album reflected vintage Trower arrangements while the single, “Caledonia” actually found its way onto mainstream radio playlists. The album, Robin Trower Live was also released that same year.

In 1977, Rustee Allen (Sly & The Family Stone) was brought in to play bass so James Dewar could relax his role as the bands lead vocalist. The group also established itself as a mega concert attraction selling out arenas and stadiums worldwide and appearing on national television and radio syndicated music shows. In City Dreams, their fifth studio album was also released that year and became the bands fifth consecutive certified gold album.

Subsequent albums with James Dewar on vocals … Caravan to Midnight (1978), Victims of the Fury (1979) and Back It Up (1983).

Robin Trower Live releases … Robin Trower Live (1976), Beyond The Mist (1985), Live In Concert (1992), In Concert (1996), King Biscuit Flower Hour Presents Robin Trower (1996), This Was Now ’74-’98(1999), Living Out Of Time (2005), RT @ RO 08(2008), Robin Trower at The BBC 1973-1975(2011).

In 1981, Robin Trower began a musical collaboration with Jack Bruce (Cream vocalist and bassist) with their debut album B.L.T. (Bruce - Lordan -Trower).

Subsequent albums featuring Jack Bruce on vocals and bass … Truce (1981), Seven Moons (2008) and Seven Moons Live (2009).

The 1983 release Back It Up brought in Dave Bronze on bass and Alan Clarke on drums. It would also be the final album featuring their legendary vocalist James Dewar.

In 1987, longtime Trower lead vocalist and bassist James Dewar became disabled after a medical error damaged his brain. A new Trower lineup was announced that included vocalist Davey Pattison of the Ronnie Montrose inspired rock band Gamma. The band released the album Passion.

Subsequent albums with Davey Pattison on vocals … Take What You Need (1988), In the Line of Fire (1990), Living Out of Time (2003), Another Days Blues (2005), RT @ RO 08(2009) and The Playful Heart (2010).

Robin Trower began a musical collaboration with Bryan Ferry (Roxy Music) in 1993 on the album Taxi which he also co-produced.

Subsequent albums with Bryan Ferry… Mamouna (1994) and Dylanesque (2007).
In 1994, Robin Trower released 20th Century Blues featuring Livingstone Brown on vocals and bass.
In 1997, Someday Blues spotlighted Robin Trower singing lead vocals.

Subsequent albums featuring Robin Trower on vocals … Go My Way (2000), What Lies Beneath (2009) and roots and branches (2013).

Robin Trower’s incomparable vocalist and bassist James Dewar died in 2002. Longtime Trower drummer Reg Isidore died in 2009.

I had the great pleasure of chatting with Robin Trower recently about his latest album roots and branches and about an amazing music career that has spanned over five decades. He’s a soft spoken gentleman and just a really nice guy. It became evident to me that his love of writing music, creating new ideas and playing the guitar, always has and will forever be his passion. He also hinted about another new Robin Trower album.

Robin had recently celebrated his 68th birthday.
Here’s my interview with guitar virtuoso/singer/songwriter/ producer … ROBIN TROWER.
Ray Shasho: Hello Robin …happy belated birthday to you!
Robin Trower: “Hello Ray and thank you very much.”
Ray Shasho: How’s the weather in London?
Robin Trower: “Very cold and a lot of snow about, not as much here in Hampshire but in Sussex they’ve had a helluva lot of snow.”
Ray Shasho: Your manager Derek Sutton called me earlier to make sure I was onboard with the time change. I consider Derek one of the very few geniuses left in the music industry. He sounds like a great guy too; it must be a pleasure to work with Derek.
Robin Trower: “Yes, fantastic, he looks after me and made it possible for me to make the music that I want to make and the records that I want to make.”
Ray Shasho: British artists I’ve interviewed tell me, while growing up in England; it was difficult to find radio stations to listen to early American blues and rock and roll. In fact, there weren’t many radio stations at all?
Robin Trower: “It was difficult, especially to get a hold of black music. Basically we only had one radio station and that was the BBC, they didn’t play rock and roll until they brought in Radio 1. But there were people who would bring music in and buy records from America. I was lucky enough to know a guy that had a communication with somebody at a record store in Memphis, and he used to send him a lot of stuff. So I was really lucky and got to hear music that a lot of other people weren’t hearing in Britain.”
Ray Shasho: I heard that black music… or early American blues, were only heard on underground radio stations.
Robin Trower: “Music like Howlin’ Wolf and Muddy Waters, when they first came out in America, it was not released in Britain. So we got it a bit later. Also a guy named Guy Stevens opened up a specialist label called Pye International and he used to bring in stuff like that and release it in Britain.”
Ray Shasho: Robin, I understand that you were heavily influenced by R&B music, who was your favorite artist?
Robin Trower: “Early James Brown was a very big influence for me; he’s still my favorite artist even now, especially his live albums like, ‘Live at The Apollo’ which is exceptional and so inspired me. He set a standard with his band and his music and took it to a whole new level, it became a benchmark. Not only that, obviously there was a lot of other music, like I said …Howlin’ Wolf, Muddy Waters, B.B. King, Albert King being my favorite blues guitar player, Jimi Hendrix my favorite rock and roll guitar player … there’s a lot of people who are important to me. But I was definitely inspired by rhythm and blues and popular music from America.”
Ray Shasho: Music critics always used to compare you to Jimi Hendrix … maybe some of your techniques were similar but I always heard a totally different sound and style.
Robin Trower: “Obviously he was a big influence on me, especially early on when I first started my band. But I always felt the songwriting and music I wrote were definitely my own.”
Ray Shasho: I really enjoyed your new release roots and branches and especially the way you added your signature sound to those classic cover tunes that obviously meant a lot to you.
Robin Trower: “Yea, these are some of the songs that got me interested in music, wanting to play guitar and all that kind of thing when I was young and they’re still some of my favorite songs, just great songs.”
Ray Shasho: My favorite song on the album was not a cover tune; it’s a brand new composition entitled “See My Life,” an incredible tune that wails Trower Power!
Robin Trower: “That’s the only song on there that was actually done live. Actually the whole thing went down in one take. Most of it was recorded in the same studio apart from some of the overdubs; the organ was done at a different studio and I did a couple of vocals when we were mixing at Livingstone Brown’s Studio.”
Ray Shasho: My favorite cover tune on the album was “That’s Alright Mama” …just fantastic!
Robin Trower: “Thank you very much. With that one and “Hound Dog” I was more thinking about the original versions … the original, “That’s All Right” being Arthur “Big Boy” Crudup and the original, “Hound Dog” was Big Mama Thornton. With all the old songs that I’ve done versions of I didn’t go and listen to them, I just did them roughly from memory because I didn’t want to be influenced at all by the original version. I just used a skeleton idea of the song and came up with my own music for it, more or less like I’ve written the tune myself and came up with it.”
Ray Shasho: It’s amazing how many artists have made a living recording and playing mostly cover tunes. I think in your case it’s the complete opposite, that’s why this latest album is so rare and different.
Robin Trower: “I’ve been very fortunate …I continue to write and continue to come up with ideas. I’m very lucky in that way. I’ve obviously written a lot of songs and I’m still churning them out. The engine is my love of playing the guitar, that’s what drives the whole thing along.”
Ray Shasho: You’ve also stayed motivated, which is difficult to do, especially as we get older. How do you continue to stay so motivated?
Robin Trower: “The thing is …you always think the next thing you do is going to be great. That’s it! I’m going to do something great one day. Keep trying to do that thing that you’re going to be really-really happy with.”
Ray Shasho: Robin, you’ve already done so many great things.
Robin Trower: “I’m not ready to give up yet though. This morning I finished the arrangement for the eleventh new song, which I feel there’s enough for a new album.”
Ray Shasho: What is your process for writing new material?
Robin Trower: “I just write on guitar. I’ve got one of these Sony professional handheld recorders and I use a notepad to jot down all the ideas as I go. I’m continually updating it as I improve an idea until I’m happy with the material.”
Ray Shasho: There’s a new Jimi Hendrix album out entitled, People, Hell and Angels with twelve unreleased studio recordings and featuring guest artists. I was wondering if you listened to the album and also I understand you met Hendrix, but only briefly.
Robin Trower: “I haven’t heard it … but I’ll have to look out for it, if you say it’s good. I met Hendrix briefly while playing with Procol Harum; we were on the bill with him in Berlin. It was just a hello and goodbye sort of thing and that was it.”
Ray Shasho: In my opinion, James Dewar was one of the greatest rock voices the world has ever known, and an awesome bass player. The musical chemistry between you and he was so incredibly powerful, and the songs were mesmerizing.
Robin Trower: “Well, hopefully that’s what you hope to achieve with music, to make people feel like it’s taking them somewhere, that’s the ideal effect you should have with music. Jimmy was very gifted and he had a wonderful voice. We had a fantastic relationship, we were like brothers. We worked very-very well together; he was such a sweet guy.”
Ray Shasho: Not a lot is mentioned about how Jimmy Dewar left us. What I’ve read was a medical error left him handicapped and then years later he had a stroke that ended his life.
Robin Trower: “I’m not really sure and I don’t think anyone is really sure what happened. I spoke to his wife after it happened and she didn’t even seem certain about it, it’s just one of those things you know … but something happened.”
Ray Shasho: Do you still speak with Jimmy’s children?
Robin Trower: “Whenever I’m touring in Britain, I usually play Glasgow and see all three of his daughters. They’re all in their late 30’s or so now.”
Ray Shasho: I’d have a hard time visualizing Robin Trower playing acoustic guitar onstage, has it ever crossed your mind during your career?
Robin Trower: “Not really. I’m not very good at acoustic guitar playing really (laughing). I enjoy working on it because it gives you a different texture and maybe pushes you in different areas. But I play electric guitar, that’s my instrument.”
Ray Shasho: I heard you had a reunion with your old bandmates The Paramounts?
Robin Trower: “Yea, actually four years ago we did a Christmas show at one of the little Pubs we used to play in when we were together. It was a lot of fun and I really enjoyed it. The Paramounts were a good little band. We never broke through into the mainstream but we did quite well.”
Ray Shasho: Then of course many of your Paramount bandmates morphed into Procol Harum.
Robin Trower: “Gary Brooker started writing and that was really the core of Procol Harum … his composition.”
Ray Shasho: Procol Harum is a great band but I’m so glad that you left; the world may never have found out who the real Robin Trower was.
Robin Trower: “I wouldn’t have found out. (All laughing) They were writing so many songs and pieces and there wasn’t any room for me, so I had to leave.”
Ray Shasho: The first time I heard you sing I was completely blown away because you never sang. I think the only time I ever heard your voice during the James Dewar days was on the beginning of “Twice Removed From Yesterday” correct?
Robin Trower: “Yes, I did a talking thing, and that was the only vocals I did while Jimmy was with me. I hadn’t been singing because we had such great singers. But I did sing in Procol Harum.”
Ray Shasho: “I think you’re a great singer.” I became a fan of Robin Trower as a singer on the album Go My Way, especially the tracks “Breathless” and “Go My Way.” I thought the album was exceptionally good.
Robin Trower: “Thank you! I think what’s interesting when you are singing is that you’re writing is different and I think that’s given me a different outlet musically, because I’m working on the voice rather than coming up with a melody idea. It’s been a completely different thing and that’s been very interesting and in particular with this new batch of songs I’ve come up with, it definitely led me into some different areas.”
Ray Shasho: How about a sneak preview of what we may expect on the next album once it’s completed?
Robin Trower: “It flows on from roots and branches, that’s what I would say. I think roots and branches have opened up an avenue in terms of the writing and I’m really enjoying the moment, its seeming to come together really great.”
Ray Shasho: Robin, I ask this question to everyone that I interview. If you had a ‘Field of Dreams Wish’ like the movie, to play, sing or collaborate with anyone from the past or present, who would that be?
Robin Trower: “I would play with James Brown.”
Ray Shasho: “I figured it would either be James Brown or Jimi Hendrix.”
Robin Trower: “No, I wouldn’t play with Jimi Hendrix, he’s too good. (All laughing)”
Ray Shasho: Thank you Robin for being on the call today and more importantly for all the incredible music you give to us. Go on tour soon and please don’t forget about Florida dates.
Robin Trower: “I sure will it’s been nice talking with you Ray … Cheers!”

Robin Trower official website www.trowerpower.com
Order roots and branches Robin Trower’s very latest release at amazon.com
Very special thanks to “The Great” Derek Sutton and David Maida.

Contact classic rock music journalist Ray Shasho at rockraymond.shasho@gmail.com

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Lita Ford Interview: A ‘Runaway’ who became the electric queen of rock and metal

 By Ray Shasho

Lita Ford is unmistakably a modern age pioneer for women electric guitarists. Her amazing hard rock/ heavy metal skills have been respected and epitomized for generations.

Sure there are never-ending debates about which women were the very first rockers to play the electric guitar. At the top of the list could be American blues icon ‘Memphis Minnie’ who was among the very first musicians to touch an electric guitar, musically engaged between the 1920s and 1950s. Minnie co-penned the blues classic; “When the Levee Breaks” which was celebrated on the Led Zeppelin IV album. But since the mid 1970s … no rock queen has triumphantly wailed on an electric guitar like 'Lita Ford.'

Lita Ford was born in London, England but grew up in Los Angeles. At the age of eleven, Lita began playing the guitar and was eventually inspired by hard rock acts Deep Purple and Black Sabbath. In the mid 80’s, Lita was briefly engaged to Sabbath’s guitarist Tony Iommi. She was later married to W.A.S.P. guitarist Chris Holmes and former Nitro frontman Jim Gillette. Both relationships ended in divorce.

THE RUNAWAYS: In 1975, while still attending high school, Lita Ford was recruited by record producer/songwriter/ impresario Kim Fowley to join an all-female rock band that he congregated called ‘The Runaways.’ The punk /new wave/rock band’s must successful lineup was comprised of Lita Ford (lead guitars/ backing vocals), Joan Jett (rhythm guitars & vocals), Sandy West (drums), Cherie Curry (lead vocals & keyboards) and Jackie Fox (bass).
*Micki Steele and Peggy Foster both played bass briefly for The Runaways in 1975. Vickie Blue played bass in 1977/78 and Laurie McAllister in 1978/79.
The following year the band was signed to Mercury Records. After the release of their self-titled studio album The Runaways (1976), the group quickly embarked on their first U.S. tour and performed at legendary venues like CBGB’s in New York and the Agora Ballroom in Cleveland. The band headlined a show at the Royal Oak Theatre outside Detroit with Cheap Trick and Tom Petty and The Heartbreakers as supporting acts. Later that year, the band launched their first European tour including stops at the Roadhouse in the U.K. and the Apollo in Scotland. Because of the bands teenage stature, the group was dubbed, “Jailbait rock: music’s newest sensation.”
The Runaways second release, Queens of Noise (1977) featured the heavier guitar-driven tracks that The Runaways were most noted for and initiated by their lead guitarist Lita Ford.

 The Runaways became an even bigger sensation in Japan selling-out to frenzied audiences. During the tour, Jackie Fox quit the band and flew home, Joan Jett filled in on bass for the rest of their Japan dates. After returning to the U.S., Vicki Blue became their new bassist and Joan Jett their lead vocalist after Cherie Currie left to pursue a solo career.
The Runaways third studio album, Waitin’ for the Night (1977) was the first featuring Joan Jett as lead vocalist. It was also the final album with Kim Fowley as the band’s manager/producer.
In 1978, Laurie McAllister replaced Vicki Blue. The Runaways performed their final tour ending with a New Years Eve show at the Cow Palace in California.
A clash between bandmates deciding on the bands musical direction led to The Runaways demise in 1979.

LITA FORD SOLO: In 1983, Ford released her dynamic debut solo album entitled, Out for Blood on Mercury Records showcasing her powerhouse rock dexterity. The majority of the tunes written on the album were penned by Lita Ford and Canadian singer/songwriter/musician Neil Merryweather.
In 1984, Ford released, Dancin’ on the Edge. The album featured Randy Castillo on drums (Ozzy Osbourne) and bassist Hugh McDonald (Bon Jovi). Lita Ford’s popularity as a solo artist heightened as she captivated her fans with an ingenious combination of virtuoso musicianship and alluring sex appeal. The album spawned, “Fire in My Heart” (Top 10 Hit outside the U.S.) and “Gotta Let Go” (Reached #1 on the mainstream Rock charts).
Lita Ford became a sought-after concert attraction and toured extensively over the next four years.
Ford recorded an album entitled The Bride Wore Black with Black Sabbath’s legendary guitarist Tony Iommi as producer but it was never finished because of various changes occurring at Mercury Records. Ford immediately signed with RCA Records and hired Sharon Osbourne Management.

In 1988, Lita Ford released her most commercially successful album entitled, Lita. The album generated four commercial hits … “Kiss Me Deadly,” “Back to the Cave,” “Close My Eyes Forever,” and “Falling In And Out Of Love” co-written by Nikki Sixx of Motley Crue. Lita’s duet with Ozzy Osbourne on “Close My Eyes Forever” (#8 Billboard’s Hot 100 hit) is Ford’s biggest hit to date. The album was produced by Australian record producer/songwriter Mike Chapman.
After the huge success of Lita …Ford followed-up with the album, Stiletto in 1990. The release featured, “Hungry” and an awe-inspiring composition devoted to her mother called, “Lisa.” The tune featured an incredible guitar arrangement showcasing Lita’s prodigious guitar skills while justifying one of the most beautiful voices in rock and roll.
In 1991, Ford released her fifth studio album, Dangerous Curves on Spitfire Records. The release featured her chart single, “Shot of Poison.” Guitarist Howard Leese (Heart, Bad Company) and vocalist Joe Lynn Turner (Rainbow, Deep Purple) were some of the guest artists on the album.
Lita Ford’s release of Black on the German ZYX Record Label in 1995 was the last before a lengthy hiatus from the music world. Lita says …

"I got pregnant at the perfect time and I disappeared and raised my kids to a certain level where I didn’t have to watch them 24/7."

In 2009, Lita returned with the release, Wicked Wonderland. She also began touring the U.S. and Europe. Ford was quoted in May of 2011 revealing …

"A lot of people have told me that they want a real Lita Ford album, and I know what they mean.”

Her fans didn’t feel like they got a true comeback album from Lita Ford.

LIVING LIKE A RUNAWAY: The void would soon be remedied with her latest album, Living Like A Runaway. The album was released in June of 2012 and is co-written and produced with surfer rock musician Gary Hoey. Composer Michael Dan Ehmig also contributed lyrics. Bobby Collin was the executive producer. It’s her first album released on SPV/Steamhammer Records, one of the largest Independent distributors and labels worldwide.

I gave Living Like A Runaway (5) stars! It’s a magnificently engineered album. Lita sings deep from within her heart and soul with rage, pain and forgiveness. Some of the most prominent tracks include … the hard rockin’ rampage of “Branded,” “Hate” is definitely one of my favorite tracks; this tune could easily be a soundtrack to a movie, resembling Alice Cooper …Lita Ford style, “Devil In My Head,” emphasizes Lita’s monstrous guitar riffs, “Living Like A Runaway” is a captivating flashback to Lita’s ‘Runaway’ days, “Relentless” is a hard-driving battle cry, an awesome tune, and “Mother” is a beautiful arrangement of outpouring emotion and sincerity. Lita and 'The Uptown Horns' also do an excellent cover version of the Bernie Taupin penned classic, “The Bitch Is Back.”
Lita Ford is truly gifted … a prodigious guitarist, an enticing songstress and innovative lyricist. …LITA’S BACK!

PRESENTLY: Lita Ford is currently on tour, including several dates with Rock & Roll Fantasy Campers, a ‘Monsters of Rock Cruise,’ several ‘Music Fests’, a performance at the ‘Sturgis Motorcycle Rally’ and overseas shows in Australia, Sweden and Norway. Lita’s complete touring schedule can be found at http://litafordonline.com/tourdates.htm

I had the rare and wonderful opportunity to chat with Lita Ford recently about her incredible solo music career as well as her historic stint with the legendary ‘Runaways.’
Lita had just returned from Rock & Roll Fantasy Camp in Las Vegas and was getting ready to embark on the ‘Monsters of Rock Cruise.’

Here’s my interview with the female pioneer of rock & metal electric guitar/singer/songwriter/ and legendary Runaways lead guitarist ... LITA FORD.
Lita did the interview while driving … running errands around LA in preparation for the cruise.
Ray Shasho: Hi Lita, how you doin’? (In my best ‘Joey Tribbiani’ voice)
Lita Ford: “I’m a little crazy right now; you’re going to have to put up with me.”
Ray Shasho: So how was the ‘Rock & Roll Fantasy Camp’ experience?
Lita Ford: “Mad, crazy, insane, exciting, exhausting, and just a lot of fun. We had Sammy Hagar down, Steve Vai, Billy Sheehan and just a bunch of people, it was cool. The campers were all great. I’m exhausted, David Fishof wore me out. So now I’ve got two days off and then we hop on the boat for the ‘Monsters of Rock Cruise.’”
Ray Shasho: Hopefully, you’ll get to chill a little bit on the cruise?
Lita Ford: “There is no such thing. (Laughing) No, I plan on partying my brains out on this cruise, are you kidding me. This is the first time for me; I’ve never even been on a cruise ship.”
Ray Shasho: I hope the cruise goes well and not like the ship that got stranded recently.
Lita Ford: “Don’t even go there. I was on a flight on the way home and I got this stewardess … they put me in the front row and there’s no seat in front of you and you can’t put your luggage under the seat. The stewardess took my purse and shoved it in an overhead bin that was already packed full of luggage and she couldn’t really get my purse in it. So when she shoved it in there it got stuck. She had wedged the door on the overhead bin and then when the plane landed they couldn’t get it open. So I’m standing there and this woman comes by and thinks she knows everything and starts banging on the overhead bin, and I know that it was my purse, because it’s a big leather purse. I thought it was a piece of leather that was stuck in there. I said to the lady, could you wait for the stewardess please, because she knows how to open this. And she looks at me and just sticks her nose in the air and starts banging on the overhead bin again. Nobody could get past row number one where the overhead bin was stuck. So anyway, it was just a nightmare … it’s always something.”

“Then there was a woman behind me with this dog and she didn’t put her dog underneath the seat of the plane. I always put my dogs underneath the seat of the plane because they’re little. And she says, “This is a service dog, it needs to be in a seat,” and I heard the stewardess say, “Let me see your credentials,” and she didn’t have any. The dog wasn’t wearing a jacket and she didn’t have the right credentials, so obviously it wasn’t a service dog. So the stewardess said, “Put the dog underneath the seat.” The lady said, “Oh, ‘Precious’ doesn’t want to be underneath the seat,” and I’d been up for five days … right? I’m tired and ‘Precious’ doesn’t want to go under the seat, and I’m thinking …it’s a forty five minute flight lady put ‘Precious’ under the seat or I will! (All laughing)”
Ray Shasho: I’d like to begin by saying that I really enjoyed your latest release Living Like A Runaway …and I gave it (5) five stars.
Lita Ford: “Woo-hoo! … That’s bad to the bone! Gary Hoey and I produced it and we didn’t hand it off to anybody, it was almost like Glen Ballard and Alanis Morissette when they wrote Jagged Little Pill, there was nobody else involved. You know that expression … ‘Too many cooks spoil the broth,’ I believe that’s the case on this album. When we were finished with the record we handed it off to a guy to mix. We only gave him one song, just to see what he would do and he didn’t get the vibe, so we snatched it back real quick and Gary mixed it. Then we handed it off to a guy to master and only gave him one song. He didn’t get the vibe, so we snatched it back real quick and Gary mastered it. So we did everything ourselves … background vocals, keys, I played percussion, me and Gary both played guitar, and we got Matt Scurfield who is Gary’s drummer, he came in for three days and played drums on all the tracks.”

“Then we were finished with Matt and we brought in ‘The Uptown Horns’ to play the horn arrangement on “The Bitch Is Back,” but other than that, it was just me and Gary …we did everything. It really worked out perfect, the guitar harmonies were great and the words were sick …just sick words, we got stuck on lyrics once in awhile and we called in my lyricist Michael Dan Ehmig. That was only when we got stuck and Michael Dan would come up with something insane like the “Devil In My Head.”
Ray Shasho: That’s definitely one of my favorite tunes on the album.
Lita Ford: “It started off being; “The Angel On My Shoulder” but wound-up the “Devil In My Head” (All Laughing).”
Ray Shasho: “Mother” is a beautiful arrangement, and you have such a magnificent voice.
Lita Ford: “Thank you, there’s a video coming out real soon for, “Mother.” It will be out before Mother’s Day.”
Ray Shasho: You’ve been opening your shows with, “The Bitch Is Back” …right?
Lita Ford: “Yea … it’s pretty appropriate. (Lita began singing on the phone) …I wanna’ be your Bitch tonight!”
Ray Shasho: I love it! (All laughing)
You’ve got a rather lengthy tour happening including a stop at the Sturgis Motorcycle Rally in South Dakota … is it your first time playing Sturgis?
Lita Ford: “No, we always play Sturgis …it’s a blast! I remember the very first time we played Sturgis, we did the gig and waited backstage for the encore and nobody’s clapping, all I heard was motorcycles revving. And I said to my band … Oh, they’re all leaving. My bass player looked at me and said, “Lita, they’re revving their engines, that’s how they applaud, they want you to come back.” I said, Oh really? He said, “Yea, you dumbass!” I thought we were really bad and they were all leaving. (All laughing)”
Ray Shasho: Lita, are you playing ‘Runaways’ tunes onstage?
Lita Ford: “I just pulled out the ‘black Hamer’ from ‘The Runaways’ days. It’s the ‘black Explorer’ that I played in The Runaways. I still have it in storage and in perfect condition and hasn’t been touched since 1980. I pulled it out and cleaned it up, straightened up the neck, adjusted the action and intonation, changed the strings and made sure all the electronics were working good … and it sounds like God. I started playing, “Waiting for the Night” and I looked around at the band and said, Geez, this sounds so good, why don’t we do this song. We may work in “Waiting for the Night” but unfortunately, I don’t think we’ll have it by the time we play the cruise. My drummer’s in Tokyo right now so we didn’t have time to rehearse it. We will have it by Sturgis. But we do all kinds of stuff off the new album.”
Ray Shasho: Are you collaborating with any ex ‘Runaways’ bandmates?
Lita Ford: “Vicki Tischler-Blue produced and directed the “Mother” video.”
Ray Shasho: Any plans to collaborate with other ‘Runaways’ bandmates in the near future?
Lita Ford: “Nope. I’m still working this record and I feel it has a ways to go. I did do some rockin’ with Phil Collen on the Def Leppard tour and we’ve got a song in the works, and I’m also back with Gary Hoey and Michael Dan Ehmig. That was just a Godsend.”
Ray Shasho: I think the venues on your touring schedule are awesome, you’re not performing at typical venues … you’re on cruises, motorcycle rallies, outdoor festivals, ‘Mad Monster Parties,’ casinos … How cool is that?
Lita Ford: “My manager knows I’m a workaholic. I said, Bobby, I don’t want any days off. Bobby’s great and he’s the best. He’s honestly the first manager I ever had that truly cares about me as a human being. He asks me if I ate today, because I always forget to eat. Then I find myself not feeling good, and he’ll ask, “Well, did you eat today?” …Oh, that’s what it is, too much coffee and not enough food …first thing in the morning …Starbucks!”

“We’ve also got some gigs that are really out of the way …and I love those shows, because people starve for rock and roll over there. They buy the new album; they know the songs and everybody can sing …Run Baby Run! (Lita singing) You only got to hear it once; it sticks in your head.”
Ray Shasho: Lita, you’re four months older than me, did you graduate high school in ’76 or ’77?
Lita Ford: “I think it was either ’79 or ’80, I didn’t get my diploma when I was supposed to graduate because I was on tour with The Ramones and Runaways.”
Ray Shasho: How did that all pan out … one minute you’re attending high school and in another minute you’re touring the world with The Runaways.
Lita Ford: “I was in a band when I was in school. I wasn’t in the band; I had some friends that had a band. A bunch of guys, they were young and always hung out over my house and they knew I could play guitar. They had booked a gig with their band and their bass player’s girl friend didn’t want her boyfriend to go play the gig. It was a teenage jealousy thing. The bass player ended up not playing, so they were short a bass player. So they called me and said, “Lita, can you play bass for one night?” I said sure, strap it on me. So I played bass at the gig and word got out that there’s a female bass player and Kim Fowley found out. He called me on the phone and said, “We need a bass player.” I said, I don’t play bass, I play guitar, I’m a guitar player. He said, “We need one of those too.” (Laughing)”

“So I packed up my gear and he gave me the spiel of a lifetime… “You’re going play arenas and be rich and famous,” I thought how could I resist this? My mom and dad said … “Go check it out.” So I got my guitar and whatever amp at the time and went up to Hollywood. I walked in and saw Joan and Sandy … Sandy was on the drums, and we jammed “Highway Star” all the way through. Ian Paice her favorite drummer, also my favorite drummer at the time, and Deep Purple was my favorite band and also her favorite band at the time, so me and Sandy, the drummer, really gelled … it was a no brainer just instantaneous. I played that solo for “Highway Star” and that was it.”
Ray Shasho: Do you still talk with Joan Jett?
Lita Ford: “No… we had dinner about a year, maybe a year and a half ago and I haven’t talked to her since. It took since 1980 to get her to have that dinner with me. You know …she’s a busy chick …so.”
Ray Shasho: I don’t know Lita, your tour schedule looks somewhat busier than Joan’s at the moment.
Lita Ford: “I was gone for seventeen years, so there’s a demand to see Lita. Now I’m back and my full-time job is rock and roll, the whole time that I was gone, Joan was out there touring and working. So people have seen Joan play where they haven’t seen me in almost two decades. I went away in 1997 when I got pregnant with my first child, and I was married and pregnant and bored, then the grunge scene kicked in, which was great I loved it, but it really took away from what we were doing as artists and it was time to bow out. I got pregnant at the perfect time and I disappeared and raised my kids to a certain level where I didn’t have to watch them 24/7. Then the music scene died down and grunge went away, the rap has died down and its time now. That pair of shoes I left sitting there in 1997 …they’re still sitting there. So now I’ve walked back at put on my Ruby slippers.”
Ray Shasho: There’s been a lot of speculation and discussions about which women are the electric guitar pioneers of rock and roll. A lot of women guitarist in rock bands had men backup guitarist or never properly showcased their electric proficiency …but not so with Lita Ford.”
Lita Ford: “I would go to shows like Johnny Winter and watch artists who played guitar and sang like Jimi Hendrix. That’s who I was into and I really wanted to establish myself as a female guitarist and the only way to do it was like when I put out Out For Blood, which was my first solo album, it was a three-piece band like Jimi Hendrix, just bass, drums and guitar. So therefore there was nobody else to look at on the stage, so nobody could say …he’s doing all the guitar playing.”
Ray Shasho: Lita, here’s a final question and I ask this to everyone that I interview. If you had a ‘Field of Dreams Wish’ like the movie, to play, sing or collaborate with anyone from the past or present, who would that be?
Lita Ford: “Definitely Jimi Hendrix …Joplin…Bonham …Brian Jones …John Entwistle. I would be playing with spirits which I think I do anyway. But you know what … I love my band that I have now and absolutely blessed to have such a brilliant band. I mean we are badass. I have my dream band right now. The bass player I love, the guitar player and I …it’s like we have sex onstage when we play, the drummer is a f***ing monster. I don’t have keys, don’t have any backing tracks and don’t use anything that’s fake … we do what we do and have fun.”
Ray Shasho: Lita, thank you for being on the call today and for all the great rock and roll and metal you’ve given to us and continue to bring into the future. Enjoy the ‘Monsters of Rock Cruise’ and add some Tampa Bay concert dates real soon.
Lita Ford: “Thanks Ray … Wish me luck on the cruise (All laughing). God Bless!”

Lita Ford official website at http://litafordonline.com
Purchase Lita Ford’s latest release Living Like A Runaway at amazon.com
Lita Ford tour dates at http://litafordonline.com/tourdates.htm
Very special thanks to Jon Freeman of Freeman Promotions.

Contact classic rock music journalist Ray Shasho at rockraymond.shasho@gmail.com

Purchase Ray’s very special memoir called ‘Check the Gs’ -The True Story of an Eclectic American Family and Their Wacky Family Business … You’ll LIVE IT! Also available for download on NOOK or KINDLE edition for JUST .99 CENTS at amazon.com or barnesandnoble.com - Please support Ray so he can continue to bring you quality classic rock music reporting. 

 ~~Pacific Book Review says Ray Shasho is a product of the second half of the 20th century, made in the USA from parts around the world, and within him is every trend in music, television, politics and culture contributing to his philosophical and comically analytical reflections collected in his fine book of memories. I found Check the Gs to be pure entertainment, fantastic fun and a catalyst to igniting so many memories of my own life, as I too am within a few years of Ray. So to all, I say if you have a bit of grey hair (or no hair), buy this book! It’s a great gift for your “over-the-hill” friends, or for their kids, if they are the history buffs of younger generations trying to figure out why we are the way we are.

© Copyright rayshasho.com. All Rights Reserved

 

'Roger Hodgson' interview: The legendary voice and lyricist of 'Supertramp'

By Ray Shasho

Roger Hodgson’s inspirational lyrics, enchanting vocals and virtuoso musicianship continue to astound audiences worldwide. Hodgson’s distinctive voice and profound musical arrangements have spawned numerous 'Top 40 Hits' for classic rock music legends Supertramp. Some of Roger’s most distinguished classics include, “Give a Little Bit,” “The Logical Song,” “Take the Long Way Home,” “Breakfast in America,” “Dreamer,” “School,” “It’s Raining Again,” and “Fool’s Overture.”

After performing to jubilant sold-out audiences worldwide, 'Supertramp’s Roger Hodgson' returns to the stage in 2013 on a new global excursion. Roger will be making a rare appearance at Ruth Eckerd Hall in Clearwater, Florida on Friday, March 22nd and for the first time in the U.S.; Hodgson will be performing with a Rock Symphony Orchestra.

After the release of their third studio album, Crime of the Century in 1974, Supertramp quickly captured the attention of music critics and aficionados across the globe. Crime of the Century was a superlative release. The creative writing collaboration of Hodgson and Davies, although contrasting, began a highly successful commercial period for a group comprised of highly esteemed musicians. The Roger Hodgson penned, “Dreamer” became Supertramp’s first big hit. The album also featured two beautifully composed arrangements by Hodgson entitled ...“Hide in Your Shell” and “If Everyone Was Listening.”

Supertramp became a sought-out concert attraction because of their awe-inspiring musical abilities and riveting onstage presence. Their shows often spotlighted a movie projection that displayed the Crime of the Century album cover, an image of two hands clutching jail cell bars while floating in space. The projection synchronized hypnotically with the music above the stage.
 
Subsequent albums … Crisis? What Crisis? (1975) and Even in the Quietest Moments (1977) which produced “Give a Little Bit” (#15 on Billboard’s Pop Singles chart).

In 1979, Supertramp released what would become their highest selling album, Breakfast in America. The album spawned four U.S. Billboard Hit singles… “The Logical Song” (#6 Hit), “Take the Long Way Home” (#10 Hit), “Goodbye Stranger” (#15 Hit) and “Breakfast in America” (#62 Hit). The album remained on top of the charts worldwide and eventually sold over 20-million copies, becoming one of the biggest selling albums of all-time.

Supertramp made an amazingly smooth transition from a progressive rock scheme over album-oriented rock airwaves to mainstream Top 40 radio, and without compromising or sacrificing musical integrity.

The bands next album, ironically entitled …Famous Last Words (1982) would be the last featuring vocalist/lyricist/keyboardist and guitarist Roger Hodgson. The album reached #5 on Billboard’s Pop Album Charts and was certified Gold.

To date ... Supertramp has sold over 60- million albums.

Roger Hodgson officially left Supertramp in 1983 to pursue a solo career.

In 1987, after his second solo album was released, Hodgson fell and shattered both of his wrists. Doctors said he would never play music again, but his strong faith, positive thinking, self healing efforts and physical therapy would prove the medical profession wrong. Within a year and a half, Roger was playing his music once again.

Roger Hodgson released three solo albums since leaving Supertramp … In the Eye of the Storm (1984), Hai Hai (1987) and Open the Door (2000). He also released a live album entitled, Rites of Passage (1996).
In 2001, Roger was invited to play with Ringo Starr & His All Starr Band. The bands lineup also featured Ian Hunter (Mott the Hoople), Greg Lake (Emerson, Lake and Palmer), Sheila E., Howard Jones and Mark Rivera.

In 2006, Hodgson released his first ever DVD entitled, Take the Long Way Home –Live in Montreal. The solo release achieved platinum status in just seven weeks.
The following year, Roger accepted an invitation by Princes William and Harry to perform at the ‘Concert for Diana’ in front of an audience of 65,000 people at Wembley Stadium. “Give a Little Bit,” “Dreamer,” “Breakfast in America” and “It’s Raining Again” was among Diana’s favorite songs. The concert was broadcast in 140 countries around the world.

Roger Hodgson’s most recent release, “Classics Live” is an incredible collection of his live performances recorded from his '2010 world tour.'

There are also 60 unreleased songs that Roger plans to record when the time is right.

Tickets for Supertramp’s Roger Hodgson in concert with a Rock Symphony Orchestra at Ruth Eckerd Hall in Clearwater on Friday, March 22nd are available at www.rutheckerdhall.com or by calling (727) 791-7400.

I had a wonderful opportunity to chat with Roger Hodgson recently before the launch of his worldwide tour. Roger’s music continues to inspire and offer hope for people everywhere. His spirituality and positive vibrations were definitely felt throughout our entire conversation. Roger is a true delight.

Hodgson was born in Portsmouth, England but left when he was twenty four years old. Now he calls Northern California his home.

Here’s my interview with Singer/Songwriter/Multi-instrumentalist/Co-founder of classic rock music legends Supertramp …ROGER HODGSON.
Ray Shasho: Hello Roger how are doing?
Roger Hodgson: “I’m doing great, how are you Ray?”
Ray Shasho: We’re all excited that you chose to perform at Ruth Eckerd in Clearwater before the world tour begins.
Roger Hodgson: “I hope the weather will be as nice as I now it usually is down there.”
Ray Shasho: The weather has been absolutely perfect Roger.
Roger Hodgson: “It’s going to be hard prying my band away from there I know it.”
Ray Shasho: Roger, are there particular mechanisms or traits that help you with your creativity and spirituality?
Roger Hodgson: “You nailed it actually … my spirituality is my compass. It affects the way I see life, the way I see music … and I really think of music as a service, my way to serve. I’ve always been service-oriented. The reason I’ve been touring now for almost ten years straight is because of what I feel I’m able to give to the audience and help people, because these are tough times. To take people on a musical journey and uplift them and give them some hope. Maybe take them on a journey where they can hear songs that will bring back some good memories for them. I think we’ve lost that aspect in the music world. My spiritual beliefs say that we’re here to give and serve rather than to rape and pillage.”
Ray Shasho: I was working in radio playing all those Supertramp hits during the bands most commercially successful period … and yes, those songs bring back wonderful memories.
Roger Hodgson: “It’s amazing that the songs I’ve written have stood the test of time. I can only attribute that for the fact they were not contrived, they really are pieces of my heart and soul that I put into songs. The music is where I went to express the stuff that was going on inside me … my joy, my pain, my confusion, my long for love, my long to know God. It really was where I went to commune. I didn’t know when I wrote most of them that the songs would touch so many people around the world. But I think music is an incredible way to connect with a lot of people, especially if you are expressing something that people can connect to. It’s that feeling I feel every night when I’m onstage. I know there’s a lot of people out there, I look out and sometimes see people crying and it’s obviously touching a nerve and can come from so many places. It can come from the fact that the song brings back memories for them or it’s saying something that is dear to their heart. It’s an amazing gift and I feel that I’m the most blessed man in the world and have the best job in the world. That’s what keeps me going, just to be able to give that.”
Ray Shasho: Your positive energy and spirituality remind me of another artist who I shared a similar conversation with …that being Jon Anderson. How do you maintain a positive outlook in such a difficult world?
Roger Hodgson: “Generally, I’ve always had a positive outlook. Nowadays it’s not really a naive outlook, maybe it was once, but I’m not in denial about all the challenges we’re facing in the world. I think mankind has to change and we’re just being forced to literally. We’re basically facing the survival of the planet in so many different ways. Life is getting very-very difficult, but again, it’s back to my beliefs and at the same time not taking things too seriously. And I’m not out there just to get the applause every night, I’m really out there to serve and give and that keeps me in a positive frame of mind.”
“The biggest job I have is preparing myself for when I go onstage. I’m no different than anyone else; I get stressed out and have things going on in my personal life and I can’t take that stuff onstage with me. So I have things that I do … the whole day is really in preparing myself for when I get on that stage, I’m empty and unencumbered by anything that’s distracting in my personal life, so I can sing from my heart and touch people in the deepest way possible.”
Ray Shasho: Roger, I ask this question to everyone that I interview. If you had a ‘Field of Dreams Wish’ like the movie, to play, sing or collaborate with anyone from the past or present, who would that be?
Roger Hodgson: “Claude Debussy is one. I think as a composer he definitely inspired me. For a long time when I was younger it was Stevie Winwood. Nowadays … there’s an obscure Norwegian-duo called ‘Secret Garden’ and the composer is very underrated and undiscovered. His name is Rolf Lovland. I think he’s a very gifted man and I’d love to work with him.”
Ray Shasho: Was there a particular thought process behind the naming of the Breakfast in America album?
Roger Hodgson: “Really, it was a song that I wrote when I was about eighteen or nineteen and it never felt like it belonged on any of the albums… didn’t belong on ‘Crime of the Century,’ ‘Crisis? What Crisis?’ Or ‘Even in the Quietest Moments’ but certainly we had a collection of songs that it would work on. So I suggested it, we recorded it, and it was such a great phrase that it obviously became the album title. But it was a good song that I wrote in about one hour. I had just bought myself a new pump organ, living in England, and so excited that I just started playing these chords and wrote any words that came to my head and that was Breakfast in America. I bought the organ for forty dollars, so it paid off.”
Ray Shasho: When I purchased Crime of the Century at my local record shop, I instantly knew that the band was exceptional and would eventually become very popular. One of your most beautiful and heartfelt compositions was on that album … “Hide in Your Shell,” describe your thoughts while writing the song.
Roger Hodgson: ““Hide in Your Shell” really was very introvert, I mean, I really did used to hide in your shell. I was very sensitive and sometimes felt very alone with the band. No one else really shared by beliefs or even had the questions of the drive and inner search that I had going on. So a lot of the things that I wrote about in that song really expressed what was going on in myself, almost a conversation with myself.”
“You’re right …it struck a nerve, if there’s one song that gets requested over many others, it’s probably that one. It seems to speak to a lot of people around the world who felt or have felt the same way. It expresses loneliness, it expresses alienation, it expresses hope, and it says love is the answer; everyone had been in a place where they’d been crying out for some kind of love in their life and it really just speaks to the human condition in a lot of different ways. And a lot of people have gone to it when they’ve gone through hard times and seek comfort from it. That quality as a songwriter gives me a lot of satisfaction and pleasure because I know other songs have done that for me in my life and it’s wonderful to have written a song that’s done that for other people in theirs.”
Ray Shasho: Like so many of us, you were a Beatles fan.
Roger Hodgson: “I was, as a teenager, that’s what was happening in the world and it changed my life because they showed me what was possible with music.”
Ray Shasho: So, when you were invited to play with Ringo Starr’s All Starr Band, it was probably a dream come true?
Roger Hodgson: “That was quite a kick. I never imagined that I would be doing that. It was wonderful to meet the man and hear some of the stories from his perspective and not the way the media portrayed it. But he’s a wonderful guy and it was a lot of fun and a great experience for me. It’s a great thing he’s doing and I know he gets so much out of it.”
Ray Shasho: Roger, here’s your last question, and I’m obligated to ask this one for all the die-hard Supertramp fans around the world. Do you think that a Supertramp lineup including Rick Davies and yourself will ever reunite for one last tour?
Roger Hodgson: “I think that time’s gone unfortunately. The great thing is that I’ve got so many people coming to my show that have seen the band in the past and are reliving the memories, because there’s so much of the spirit and the songs from Supertramp in my show and they can kind of relive the experience. And the younger generation who never got to see the band are being blown away from what they get from the concert. The band that I have with me is absolutely stunning and I’m so proud of them. They’re younger and so passionate and constantly trying to make the show better and better. A labor of love for all of us. That spirit really spills over into the audience. They can feel the enjoyment and I can’t say enough about the show.”
Ray Shasho: Roger, we’re looking forward to your show in Clearwater before the launch of the world tour. Thank you so much for being on the call today and for all the great music you’ve given to the world. I wish we could have chatted longer but I know you’ve got another interview to do.
Roger Hodgson: “Thank you Ray. You’re right, I could have talked with you for another hour, you’re very easy to talk to and a lot of fun. Come to the show so we can shake hands.”

Tickets for Supertramp’s Roger Hodgson in concert with a Rock Symphony Orchestra at Ruth Eckerd Hall in Clearwater on Friday, March 22nd are available at www.rutheckerdhall.com or by calling (727) 791-7400.
Roger’s latest release ‘Classics Live’ is available at amazon.com
Roger Hodgson official website www.rogerhodgson.com
Roger Hodgson on Facebook www.facebook.com/rogerhodgsonofficial
Roger Hodgson on Twitter www.Twitter.com/RogerHodgson
Roger Hodgson You Tube Channel www.YouTube.com/MrRogerHodgson

Very special thanks to Rissa Ciociola and Linda Tyler.

Coming up next … Recent interviews with guitar heroine LITA FORD (The Runaways) and British rock and blues legend ROBIN TROWER.

Contact classic rock music journalist Ray Shasho at rockraymond.shasho@gmail.com

Purchase Ray’s very special memoir called ‘Check the Gs’ -The True Story of an Eclectic American Family and Their Wacky Family Business … You’ll LIVE IT! Also available for download on NOOK or KINDLE edition for JUST .99 CENTS at amazon.com or barnesandnoble.com - Please support Ray so he can continue to bring you quality classic rock music reporting. 

~~Pacific Book Review says Ray Shasho is a product of the second half of the 20th century, made in the USA from parts around the world, and within him is every trend in music, television, politics and culture contributing to his philosophical and comically analytical reflections collected in his fine book of memories. I found Check the Gs to be pure entertainment, fantastic fun and a catalyst to igniting so many memories of my own life, as I too am within a few years of Ray. So to all, I say if you have a bit of grey hair (or no hair), buy this book! It’s a great gift for your “over-the-hill” friends, or for their kids, if they are the history buffs of younger generations trying to figure out why we are the way we are.

© Copyright rayshasho.com. All Rights Reserved